Jo Ann Chaus says, "The foundation of my work is about connecting, to myself and others.

These images are from a larger body of work titled The Exquisite State of Imbalance, made over the last several years in the studio and on location includes self-portraits, landscapes and still-lifes.  It represents the coalescence of a period of great growth and transition, both emotionally and psychologically., where I was able to access many deep, authentic, raw place, long buried.

This project was born during the process of deconstructing the home I had built and raised my daughters in as my husband and I prepared to move to a smaller house in another town some miles away.

Memories and emotions were evoked as I combed through the old house finding clothing and ephemera rich in story and ancestry.  I was ungrounded, in a liminal state.  Trying to relive moments from the past as deeply as is possible, I photographed myself as I performed before the camera, draped in old and created garments, speaking in gaze and gesture, to and with myself, naked or metaphorically so.

As I moved out of the studio to locations, the self-portraits’ focus shifted to staged portrayals of a woman out and about from an earlier time.  

I was inspired by place, light, props and garments, and channeled emotions and psychological states she may have found herself in into these images. They reference a time before the state of women and men had begun to change.  

The work is an homage to and a conversation myself and other women who struggled as wife or mother, and juggled the demands of caring for and nurturing the family while finding time to nurture herself, her growth, her desires and her dignity, The work may suggest resignation but on closer examination they display the strength, tenacity and courage inherent in the (female) species."

Jo Ann is from and based in the New York area.  She has a background in fashion and works primarily in color, making work that is ambiguous and psychological in nature. 

She is an alumni of two on-year programs at ICP in New York in 2013 and 2017, has self published "Sweetie & Hansom", a monograph about loss in her family of origin and is currently editing a second monograph "The Exquisite State of Imbalance, Conversations With Myself", that looks at personal identity as it relates to the adult life of a woman, a mother, a wife, a daughter, and a self.

www.joannchaus.com

John Michael Pelech is a fine art photographer born in New York City.

He says, "The vast majority of my photos are a portrait of my city and made up of a lifelong commitment to image and photo making.

 The three images submitted to this competition are from my portfolio, web site and book project.

“Girl on the Bus” and “Widow Chair” are 35 mm film transparencies transferred to digital.

“Window Washers” is a digital image captured with a SONY A7 II DSLR.

Most of my themes are initiated by my fellow New Yorkers. They are people I consider my extended kin.

My palette is muted but not flat and my images are dense with description.

I received a B.F.A. in 1979 from School of Visual Arts in

Media Arts and studied with Milton Glaser among others. I worked In commercial television and video as a Director of Photography.

One career highlight was working as a camera operator for MTV during the start-up years 1981-1984.

I also worked in video with avant garde artists: Nam June Paik, Peter Gabriel and Lorie Anderson. I am also credited as Lighting Director on Zibigniew Rybczynski’s long form video “Steps.”

I was fortunate to be part of Emmy-award winning CBS team in 2013 for live coverage of the Boston Marathon bombing. My prior history in image making has provided me with an excellent foundation
for creating my  personal body of work.

I currently live in New York’s East Greenwich Village.

Group show, Amanda Smith Gallery, “Vistas” 2017

Group shows, Salmagundi Club New York, Three photo shows in 2017 and 2018

http://www.salmagundi.org/building.cfm

www.johnmichaelpelech.com   
 

Joseph O’Neill says, "My work seeks to spotlight overlooked urban buildings, to showcase details of these edifices. I hope to show dynamic movement and a sense of shifting light in the sights and scenes of my world, dramatically expressed through sharp architectural forms, contrasting dark and light, as I offer each locale a life of its own.

Offering a close, almost confrontational view, my work endeavors to vividly envelope the senses, inviting the viewer to re-think the images of the world as my sense sees it, encouraging the viewer to enter this environment and experience my world for themselves."

Joseph O’Neill was born in Brooklyn, New York, in 1965. He has no formal  education in art, but did study to become a chef. In the process of becoming a chef, he was forced to develop the habit of trying, tasting, and experiencing things in a different way. 

He has been an active photographer throughout the last decade, but only began exhibiting in 2012.  Because he is self taught, he is never afraid to try different  techniques.

His photography has been influenced first by the works of Eugene Atget, and later by Man-Ray. His earlier work in photography was an unplanned documenting of things that are taken for granted as he passed them. Since deliberately moving toward photography as fine art, he has been experimenting more with architectural abstracts and nude studies. His work has appeared in numerous group and solo exhibitions around the world, predominately in New York City and Europe. Has been published in art journals, and art magazines, digitally and in print.

His work  is on display in the U.S. Embassies in Oman and Latvia, and is an active member of  one of New York City’s oldest artist collective, The Pleiades Gallery. 

Career Highlights:

"I have been an active photographer throughout the last decade, but only began exhibiting in 2012. My work has appeared in numerous group and solo exhibitions around the world, predominately in New York City and Europe. I have been published in art journals, and photography magazines, digitally and in print. I have work on display in the U.S. Embassies in Oman and Latvia. In the future I have been accepted by the American Academy in Rome for their visiting artist program. I will be spending two weeks photographing one of my favorite cities with a slant towards architecture."

http://www.Jotog.nyc

Kathryn Dunlevie says, "I have always been intrigued by apparent inconsistencies in time and space, and by each individual’s unique and shifting sense of reality.

As I fracture and reassemble photographs to suggest the intrusion of alternate worlds, everyday images are transformed into scenes that hint at intangible extra dimensions.
 
All my work is photography-based and it all has an element of collage. I am always collecting images and trying new ways of combining them.

My early works are actually mixed media; collages of my photographs with paint added by hand. More recent projects range from handmade photo-collages, to photo-montages made up of hundreds of layers. 

How perceptible my process is depends on the series. In my mixed media works, the “seams” where two photos meet are hard to detect because the painting masks them. On the other hand, in the photo-collages of “Syncopated Spaces,” the collage element is part of the conceptual component of the work, so I intentionally highlighted it. In my recent work I am adding layer upon layer to a base image digitally, creating atmospheric photo-montages."

Kathryn Dunlevie is a photography-based artist whose work has been exhibited throughout the U.S. and internationally. Cathy Kimball, Executive Director of the San Jose Institute of Contemporary Art, writes of Dunlevie’s work: "Through brilliant compositional detail and manipulation, she creates disconcerting, surprising, inexplicable spaces and scenarios – swimming pools that have many points of entry, cloisters with multiple arched domes, streetscapes that elude mapmakers, and interior settings that are almost, but not quite, right."

Born on the east coast, Dunlevie lived in six different states by the time she was 12, and in Paraguay when she was 16. She has a B.A. in fine arts from Rice University, and studied art history and film at the University of Paris, painting at California College of the Arts, and photography in Madrid. She lives in Palo Alto.

Dunlevie has received numerous awards and fellowships, including two Arts Council Silicon Valley Artist Laureate Fellowships. Her work has been exhibited at FotoFest International since 2002, at the Pingyao International Photography Festival in China, at Studio Thomas Kellner in Germany, in the US Art in Embassies Program in Moscow and in Saatchi Arts’ Best of 2014. Her work has been reviewed in Spain’s La Fotografia Actual, Korea’s photo + and  Germany’s Profifoto, as well as in The New York Times, Camerawork: A Journal of Photographic Arts, Photo Metro, Artweek, and Artlies.

Highlights of Career:

Eight solo exhibitions at FotoFest International (Houston) (2002 - 2018)

Included in China's PingYao International Photography Festival (2017)

Included in Saatchi Art's "BEST of 2014"

Reviewed in Korea's Photo+ magazine, (2013)

Included in "Parallax Views", San Jose Institute of Contemporary Art, California (2013)
 Chosen four times for Germany's  Photographers Network Selection (2006-2013)

Included the US Art in Embassies Program in Moscow (2012) 

Two time Arts Council Silicon Valley Artist Laureate Fellow with cash awards and solo exhibitions at the Triton Museum of Art, Santa Clara, California (2001 and 2005)

Included in "Fresh Work IV: Actualities", Southeast Museum of Photography, Florida (2004)

Included in "Timekeepers", San Francisco Camerawork,  San Francisco, California (2000)

www.kathryndunlevie.com

Ken Deemer says, "Windows represent a separation between two worlds; a barrier that is often invisible yet rigid. The viewer is isolated from a world that can be seen but not touched. I am drawn to the merging of these two worlds through layers of reflections that create ambiguity. And my goal is to create images that must be contemplated before this ambiguity is resolved."

Ken Deemer is an engineer by training and has spent his career working with entrepreneurial leaders as a venture capital investor, advisor, mentor and executive coach. He is passionate about social issues – especially education – and is devoted to helping leaders to build a better world.

Social: @kendeemer
www.kendeemer.com, 

Kevin E Lyle says, "As long as I can remember, I've been curious about incidental objects and environments and their potential for a sort of extraordinary/ ordinary beauty.

I find this quality in the work of
photographer Eugene Atget, composer Erik Satie and singer-songwriter Woody Guthrie. 

These great artists are a constant source of inspiration.

My process is fueled by an innate hunter/gatherer impulse. Most of my 
images are collected within walking distance of my home on Chicago's north side. 

Contemplative wandering in the urban analog world, away from the preponderance of drama delivered digitally via television and the Internet, reveals evidence of real life - evidence of what may be, may have happened or may yet occur.

Sometimes mundane, sometimes oblique, askew or atypical. Mostly overlooked, until documented."

Recent Exhibitions:
08/2019 - Member Exhibition 2019 - Juror Cecily Cullen - Center for Fine 
Art Photography, Ft Collins CO
03/2019 - Lens 2019 - Juror Natasha Egan - Perspective Gallery, Evanston IL
01/2019 - The Decisive Moment - Juror David L Parker - Praxis Gallery - 
Minneapolis MN - Honorable Mention
10/2018 - The Shape Of Things - Praxis Gallery - Honorable Mention
09/2018 - Still Life- Juror Kimberly Witham - PhotoPlace Gallery - 
Middlebury VT
07/2018 - Vicinity 2018 - Juror David Travis - Perspective Gallery, 
Evanston IL
06/2018 - Landscapes 2018 - Juror Allie Haeusslein - Center for Fine Art 
Photography, Ft Collins CO
05/2018 - Absences - LoosenArt - Millepiani Exhibition Space - Rome Italy
04/2018 - Patterns and Shadows - Juror Stephen Perloff - NYC4PA Jadite 
Gallery - New York NY
03/2018 - Myths, Legends and Dreams - Juror Amy Holmes George - 
PhotoPlace Gallery - Middlebury VT
02/2018 - Chair - Juror S Gayle Stevens - A Smith Gallery, Johnson City TX
01/2018 - Architectural Elements - Chicago Alliance of Visual Artists - 
Bridgeport Art Center, Chicago IL - Hon Mention
09/2017 - Filter Prime - Juror Kat Kiernan - Fogelson Studio, Chicago IL
03/2017 - Lens 2017 - Perspective Gallery - 1st Runner Up

www.kevinlylephotos.com

"Between the idea
And the reality
Between the motion
And the act
Falls the Shadow…
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow…
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow…"
—T.S. Eliot

Kip Harris grew up in a small farming community in Idaho. He holds degrees in English literature from Dartmouth College, in humanities from the University of Chicago, and architecture from the University of Utah. He was a principal of FFKR Architects in Salt Lake City for nearly 30 years.

A serious photographer since the late 80s, he has exhibited in the United States, Canada, and Europe with four solo and over eighty group shows. He has been published in Shots Magazine, The Photo Review, Art Reveal, and a number of on-line photographic sites. 

www.kharrisphoto.com
kharris130@me.com

“New York is work of art, a complete work of art”, Marcel Duchamp.

Laziza Rakhimova says, "With the photographs of New York skyline, I would like to turn everyone to the artistic side of New York, intrinsic to the city.  The photos were taken form one of the residential buildings protected by the Loft law in Williamsburg, which hosts numerous artists. New York looks very different when you photograph it through these vast loft windows. They add another artistic layer to the existing cityscape.

From Central Asia to France, Canada and the United States, I have crossed borders many times and evolved as a photographic artist. Walking on the streets of New York, in the city of contrasts, where one cannot exist without not finding the artistic self, I realized that the turbulent energy of the streets needed to be captured and the moments immortalized. I started from “hunting” on the streets for decisive moments and lately moved on to creating elusive moods captured in the portraits and abstract photography. Documentary photography still keeps me grounded and true to my photographic roots, stimulating me to share captivating visual stories.

I look for depth and motion in my images and started using different media to enhance and to experiment to add painterly layers. The strong image can be printed on anything with mere quality and it would look strong, impactful, but if you marry it with right printing and post processing it would pivot towards a masterpiece.

An infrared camera helps me capture the light we do not see and mordançage enhances the photographic message create the particular mood I’m looking for.

CAREER HIGHLIGHTS-

ART/Photography EDUCATION

2015 -2017    Dawson College Photography, Montreal

2017-19          ICP continued education, New York

EXHBITIONS & PUBLICATIONS-

2019             “Glimpses of our world exhibition” Salmagundi Art Club, New York, USA

2019              Upstream Gallery New York, USA

2018             Winner of the Alternative photography competition, Soho Photography Gallery. New York, USA

2018             Winner of the photography competition, Image Flow, San Francisco, USA

2019              Author Photo book “Seeing through New York”

2019              Shadow and life fine art magazine

2017              Shuba magazine editorial

 
www.abstractperspectives.art

@abstractperspectives

Michael Joseph says, "These images are from an ongoing series called "When Paranoia Makes Sense". Unedited and un-staged, street photographs offer an observational view of the world. The street photographer aims to be unnoticed and unobtrusive but faces a modern challenge. Today's omnipresence of cell phones has led to mass production of images and subsequently the threat of their publication or even viral spread throughout the Internet. The public is made public and paranoia, or an everyday heightened sense of awareness, seems to make sense. 

The public's need for photo stores that sell prints has disappeared as prints are being replaced with screens and family albums are stored in "the cloud." Private phone calls are made in public, and public places become overt displays of private thoughts. We look over our shoulders to see who may be lurking in the shadows or unaware of who is spying on our screens. Parents feel a need to protect their children and even clowns in a parade can look suspicious. The family unit is challenged by a sense of impending doom. Ads on subway walls seem to subconsciously sway our decisions. We are always aware of how we look in public because being in public means we are on display. More than ever, we feel a need for protection and paranoia affords us that sense of protection. 

The photographs in this series often break the fourth wall. In some ways the street photographer is just one more person with a camera, taking pictures. In other ways, the street photographer now catches glimpses of the public’s justified sense of paranoia over being photographed in today’s world."

Bio and Highlights-

Michael Joseph is a street and street portrait photographer.  Raised just outside of New York City, his inspirations are drawn from interactions with strangers on city streets and aims to afford his audience the same experience through his photographs.  His portraits are made on the street, unplanned and up close to allow the viewer to explore the immediate and unseen.
 
Michael’s project “Lost and Found” has been featured on CNN, Vice, Paper and published in magazines internationally.  He has been exhibited nationally, notably in the Aperture Gallery (New York, NY), Daniel Cooney Fine Art (New York, NY), Academy Art Museum (Easton, MD) as well as the Rayko Gallery (San Francisco, CA).  He has lectured for at the International Center of Photography (New York, NY) in portraiture classes at the New England School of Photography (Boston, MA) and taught at the Light Factory (Charlotte, NC).  His portraits are held in the permanent collections at the Museum of Fine Arts, Houston, the Fort Wayne Museum of Art in Indiana and private collections.  He is a 2016 Photolucida Top 50 winner and LensCulture Portrait Award Finalist He is a recipient of the fellowship in photography from the Massachusetts Cultural Council and a grant from the Peter S. Reed Foundation.  He is represented by Daniel Cooney Fine Art (New York City).

www.michaeljosephphotographics.com

Instagram:
@michaeljosephphoto
http://@michaeljosephphoto

Review by Curator Deb Schwedhelm:
"As I scrolled through the images, this photograph instantly stopped me in my tracks and took my breath away — the moment, the movement, the composition, the rich black and white processing. And to think this moment was caught while being an observer outside of a bus makes this photograph that much more incredible. To see this and click the shutter at just the right moment is so brilliant. All three images that Michael submitted are so well seen, composed, and processed — each being made at just the right moment.

A few questions for you, if you don’t mind…
I’m in awe of the images that you submitted (thank you) and had a look at your website. You have such a diverse body of work; you sure have done a lot. I’m curious what genre are you most passionate about? Do you have a genre that tugs at you and pulls you in more than others? I also saw that you published a book in 2003, American Bachelor. Are you still  photographing for that body of work or was the book the conclusion of that series? If not, are you currently working on a specific project, your “next masterpiece"? I know…a lot of questions, but last but not lease, are you still making films? Loved watching the ‘January Man’. 

I really hope this brings some new people your way because you have so much great work out there. Thank you again for sharing your work with N.Y. Photo Curator. It’s been a pleasure looking through your images and films."

Michael Rababy says, "Although I love making intimate environmental portraits, I’m most passionate about street and documentary photography.  I feel street photography is a way of documenting what I experience in the street, and if I follow a subject for a longer period of time, it becomes a documentary series.  it took me a while to figure out, but I eventually noticed a pattern where I need to document things in my life.
'american bachelor’ is a culmination of years of documenting being single in my 20’s.  the book is a valentine to that time in my life. I have many other images from that time, so I might do a sequel if there is any interest. my next book is on casino culture which I've been documenting over 20 years (god that makes me sound old). the vegas bus image I submitted is part of that series.
re: films, I came to los angeles to make films, but found photography to be more artistically pure.  fewer notes and there’s the orson wells quote that “ a painter needs a brush, a writer a pen, and a filmaker an army.”  I did a film ('still lives') where I tell a story through black and white still photos set to piano music.  I recently presented the film in a show I curated and it made me want to go back and update the images to 4k.  an SD version is on youtube - link on my website.

I would like to do more films in that style, but I have too many ideas.  I also have a feature film I wrote that I’d like to direct and am collaborating on a one man show with a comedian friend.

I’ve curated the hive gallery photo exhibit for the past 5 years and really enjoy meeting photographers that inspire me and helping new photographers by showing their work."

ADDITIONAL REVIEW BY CURATOR DIANA BLOOMFIELD:
"I don't have much to add that the curator hasn't already covered, but I do love the timelessness of black and white used here, and also the fluidity and movement-- not only emphasizing this 'caught' serendipity-- but also the fleeting moment in their lives, which you just know will be forgotten by both, in the decades going forward-- the photograph being the only remembrance that this ever occurred.  I agree with Deb-- brilliant image."
dhbloomfield.com


ADDITIONAL REVIEW BY CURATOR CARL SHUBS:
"This is a wonderful street photograph, capturing the spontaneous
moment between the couple and the apparent counterpoint of looking out
one window and into another.  There is a sense of movement and also
the stillness of the people.  All of this is enhanced by the strong
black and white image that strips out all the distracting color,
focuses on the intimacy of the moment, and frames it in the window.
Great job!"
www.carlshubsphotography.com

ADDITIONAL REVIEW BY CURATOR DOUGLAS STOCKDALE:
"This street photograph appears to captures a classical decisive moment; as there is suspense knowing what probably occurred just after this photograph was captured. As in Henri Cartier-Bresson's classic image of his subject suspended mid-air leaping over a puddle as "an event that is ephemeral and spontaneous, where the image represents the essence of the event itself".
The serendipity of this chance composition is charming; the framing of the his subjects by the outside window while a second window frame appears in a reflection to draw the readers eyes even more into the the couple's tight space."
Douglas Stockdale
www.douglasstockdale.com

ADDITIONAL REVIEW BY CURATOR STEVE ZMAK:"This photo exemplifies the best in street photography. The photographer is invisible, close in, and invites viewers to share this intimate moment. The subjects are effectively framed by the abstract reflections in the windows, out-of-focus background, black frame, and sense of movement."
www.SteveZmak.com


More about Michael Rababy:

lebanese-american documentary / street photographer, filmmaker michael rababy likes taking pictures of people.  he studied art history at the university of san diego before spending time in paris. taking influence from henri toulouse-lautrec and henri cartier-bresson. his ethnographic documentary book ‘american bachelor’ details the highs and lows of the single male.  his clients / credits include the VICE magazine photo book, mercedes-benz, merkley and partners, E!, the style network, fine living, people magazine, LA weekly, the village voice, time-out new york, hamburger eyes, james franco / paul mccarthy, the sundance institute, the yes men, citizen LA, and LA canvas. his street photography was featured in girlfriend confidential:LA and he was the official portrait photographer for TLC’s highly rated series LA ink. michael also curates photography exhibits at the hive gallery in the downtown los angeles arts district.
his short film 'still lives', which tells a story through black and white still photographs set to piano music, premiered at the palm springs international short film festival, was an official selection of the miami short film festival. his film ‘january man’ screened as an official selection at at the boston international film festival and the miami short film festival.  overall, his work can be described as emotionally charged poetic-realism.
michael lives in southern california with his record collection and is currently at work on his latest masterpiece.

www.michaelrababy.com
instagram.com/fullonrad

Michel O’Hara says, "As a photographer I am drawn to the quiet sensitive connections between light, object, gesture, and color.

The three window images presented are part of a series that centers on home, place and longing: The project evolved during a period of great transition. My long-term marriage had ended and my only child had left for college. While living on the road for work, I inhabited a multitude of hotel rooms and friends’ apartments.

It was photography that grounded me during this time of rootlessness.

After 15 years in Portland, OR I recently relocated back to Los Angeles, CA where I work as a freelance film and commercial producer. I have studied photography under Todd Hido, Alex Webb and Rebecca Webb and my photographs have been shown as part of a group exhibit at the Lightbox Photographic Gallery and the Griffin Museum."

www.michelohara.com
www.instagram.com/michel_ohara/

Nina Weinberg Doran says, "It begins with a racing heartbeat, when I spot something out of the corner of my eye that I know I have to photograph. In an instant I’ll propel myself out of a moving car or turn down a path in the opposite direction because I am magnetized – stirred in such a way that there is nothing else I can do.
 
I see myself as a rubberband, always stretching to see anew, to find different ways to express what I feel through my camera. My work spans fine art, social documentary, street photography, and environmental portraiture. Some images are responsive, others compositional; I am not confined to any one style. The thread that runs through my images is the essence of who I am and where my heart lies. 
 
I begin with a moment that makes me tingle. It might be a woman clutching a rooster from a broken down truck, or a small plastic doll face down on a sandy beach. My photographs reflect different sides of myself, but they’re always about connection: the emotional dialogue that takes place between me and my subjects, the nuanced bonds that affirm what is familiar to us all rather than what sets us apart."

It wasn’t until the age of 46 that NINA WEINBERG DORAN, a self-taught artist, discovered her passion for photography.

Based in New York, she has shot in the Caribbean, Guatemala, Morocco, Mexico and the streets of New York City. 

Her work has been exhibited in solo and group shows at museums and galleries including the Griffin Museum of Photography (MA), A Smith Gallery(TX), SxSE Gallery(GA), Lightbox Photographic Gallery(OR),PH21Gallery (Budapest), Center for Fine Art Photography (CO), Center for Photographic Art (CA), The Half King (NYC), Dark Room Gallery (VT),  AHM Gallery (VA), Eyebuzz Gallery (NY). In 2013, she was included in Rising Waters: Photographs of Hurricane Sandy, an exhibition at both Governors Island and the Museum of the City of New York, a collaboration between the Museum of the City of New York and the International Center of Photography. In 2011, she received an honorable mention in the Robert Cornelius Portrait Award competition and in 2017 won the Julia Margaret Cameron Award competition for nudes; her work is included in the Julia Margaret Cameron Award’s “A collection of works by women photographers”.

She is currently developing a body of work exploring the concept of stillness. 
 
www.ninaweinbergdoran.com

HOME: The Window
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